“Notes on Spitting” is presented as an expanded reading. The text is interwoven with video works by Anchan / Anna Daučíková and Christina Della Giustina, drawings by Alina Popa (1982–2019), a score of ghostly gestures conceived by Alex Baczyński-Jenkins, and soundscapes by Krzysztof Bagiński that slowly turn into a DJ set.

The result is a constantly shifting atmosphere, exploring unproductive pleasures, sexual drives, non-phallic eroticism, and the eruptive forces of volcanoes and bodily movement.

During the readings, Alex Baczyński-Jenkins performs a score of gestures.

Founded in Amsterdam in 2005, If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution is a women-led art organization dedicated toexploring performance and performativity in contemporary art. We work with artists, researchers, and activists to address the urgencies of thepresent through the embodied, time-based, and relational languages ofperformance. Our approach is rooted in intersectional feminisms, queerecologies, disability justice, and decolonial methodologies. We understand performance not only as an artistic medium but as a mode ofinquiry: interdisciplinary, tentacular, and centered on the body as apolitical tool and living archive.

Sara Giannini is an Italian curator, writer, and educator based in Amsterdam. Since 2020, she has been Programme Curator at the Amsterdam-based organization _If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution. Drawing on a background in theatre studies and semiotics, her curatorial practice investigates the entanglements of language and performativity as tools for rethinking dominant modes of knowledge production. Approaching curating as a process-oriented and collaborative practice, her work unfolds across performance, exhibitions, publications, and pedagogy. She is particularly interested in experimental processes and in forms that (try to) resist spectacle, working closely with artists, researchers, and other collaborators over extended periods of time. Her projects often engage with the unseen, the absent, and the occult, as well as with that which is discarded, erased, or forgotten.

Anik Fournier is the curator of archive and research at If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution and teaches contemporary art theory at BEAR Fine Art, ArtEZ University of the Arts (Arnhem, NL). Recent research and writing centred the composite life-form of an artwork, exploring how different archival registers and methodologies afford liveness: a capacity to create affective, relational, and embodied modes of encounter within the archive. Building on this, her current research has turned to the capacities of different bodies of water to register, hold and transmit material histories, questioning what modes of attention, sensing, and interpretation can be developed in order to listen to, create meaning, and learn from water’s archival modalities.